THE J. PAUL GETTY MUSEUM LIBRARY 


mas 


Catalogue of a 


|| LOAN EXHIBITION 


OF 


_ PAINTINGS by TITIAN 


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|| DETROIT INSTITUTE OF ARTS 


FEBRUARY Ist to 15th 
7928 | 


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SIXTH LOAN EXHIBITION 


OF 


OED MASTERS 


PAINTINGS BY TITIAN 


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DETROIT INSTITUTE OF ARTS 


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1928 


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It should not be necessary to emphasize the significance of 
an exhibition which comprises more than a score of paintings 
by Titian. The conception of Titian as a genius of painting is, 
at least as a name, the common possession of every educated 
person, although familiarity with his supreme art is made 
rather difficult for the art lover in this country. The com- 
paratively small number of paintings by Titian which have 
found their way to the new world are spread over the entire 
country, most of them preserved in private collections which 
are more or less inaccessible to the average individual. All 
the more gratifying is the fact that the exhibition gives the 
American public, for the first time, an opportunity to see 
more paintings by Titian than would be possible even in the 
largest European galleries, with the exception of those of 
Madrid and Vienna. 


The willingness with which out of town owners—public 
galleries as well as private collections—have placed their 
treasures at the disposal of the Museum, should be recog- 
nized with the greatest gratitude by the Detroit public. 


Titian more than any other master embodies in his art the 
spirit of Venice, that city so over-rich in great painters. A 
fortunate star hovered over his incredibly long and active life. 
Born in the small mountain city of Cadore, on the slope of 
the Alps, he received his first impressions of nature from a 
landscape which combined heroic gravity with quiet and 
lovely serenity. And these rugged blue mountain peaks 
dotted with ancient castles, the fresh green meadows and 
rushing mountain streams which had surrounded his child- 
hood, returned with astonishing faithfulness even in the very 
latest of the pictures of the old master. 


He came to Venice to become a painter as a boy of about 
ten years, to that city which as none other in the world 
makes intelligible the wonders of an art which is born of its 
environment: the dreamlike image of precious and colorful 


marble architecture which grows out of the blue sea; the 
surging hosts of multicolored costumes which enlivened the 
magic stage of this city which in Titian’s time was still the 
uncontested commercial metropolis of the world, the link 
between the Orient and Occident; the carpets and fabrics, gold 
mosaics and sculptures with which the great merchants and 
noblemen, to whom nature had denied the massive structures 
which were witness of great wealth in Florence and Rome, 
embellished their palaces. And all this dipped into the fine 
haze of the atmosphere, which dyes the light golden and 
completes the miracle of intensifying all the colors in their 
luminosity, at the same time blending them harmoniously 
together! This was the world in which Titian grew to be a 
painter. 


But the time itself was also favorable to the bringing forth 
of a great painter. For it was just in the last decades of the 
fifteenth century that Venetian art had fully attained the 
ability to become the mirror of this colorful world. Jacopo 
and Giovanni Bellini had taken over the great art of Andrea 
Mantegna: his clear and precise drawing and the principles 
of his grandly conceived compositions; Donatello had trans- 
mitted to Padua, whence it had extended to the city of the 
lagoons, the spirit and form of the Florentine early Renais- 
sance; and Antonello da Messina, bringing from Flanders 
the secrets of oil technic, had given into the hands of the 
Venetian painters the final means for the attainment of 
softness and luminosity of color. 


We know scarcely anything of the apprenticeship of the 
artist, who was born in 1476 or 77. It seems, however, that 
Vasaris account of his having been the pupil of Giovanni 
Bellini is right. The fact that after Bellini’s death in 1516, 
Titian, as we know from documentary evidence, completed 
the unfinished work of the aged master—the celebrated 
Bacchanal (now in the Widener collection in Philadelphia)— 
is proof of the intimate and friendly relationship between 
the two artists. Of a greater and more direct influence, 


however, was the time he spent, together with Sebastiano 
del Piombo and Palma Vecchio, in the great Giorgione’s 
studio. Giorgione, who died of the plague at the early age 
of 32 (1510), is regarded from the artistic viewpoint as well 
as from that of his influence upon the development of painting, 
as one of the most important painters of modern times. The 
loosened composition, the chiaroscuro and the new impasto 
with which he had replaced the carefully smoothed and 
enamel-like painting of the Quattrocento, influenced not 
only the development of the following decades, but, through 
Titian, who consistently evolved Giorgione’s style, of 
centuries. 


Titian himself reached his real maturity, and apparently 
also his full productivity, at the comparatively late age of 
thirty-five or forty years. At any rate it is astonishing how 
few works of his earlier years have been preserved. The 
pictures in our exhibition comprise approximately six decades 
of the master’s long career. The earliest work, the Madonna 
and Child (Fig. 1), in technic and composition closely related 
to the socalled Gypsy Madonna in Vienna, is painted at 
about the same time as that picture (1502-5). The conception 
of this Virgin, who regards the Child tenderly and thought- 
fully from half-closed eyelids, is entirely in the sense of 
Giorgione, and in the pictorial treatment of the folds also 
the influence of this master is evident. Of only a little later 
date is the figure of the woman in white in the three-figure 
picture from our Museum, The Appeal, (Fig. 2), the other two 
figures of which are attributed to Giorgione and Sebastiano del 
Piombo. The picture was either from the first a combined 
work of the three artists, who were associated in Giorgione’s 
studio—a case of collaboration which is not at all unique in 
the history of art—or it is a painting begun by Giorgione, 
which after the death of the master was finished by his two 
friends. What is of special interest for us is the date of the 
figure by Titian, which in either case must have been around 
1510, the year of Giorgione’s death. 


Of about 1515, the period when Titian, almost forty years 
old, had reached his full development and had created some 
of his most famous masterpieces, such as the Sacred and 
Profane Love in the Borghese Palace in Rome, is the Portrait 
of a Man (Fig. 3). 


The majority of paintings in the exhibition belong to 
Titian’s maturity proper, the quarter of a century between 
1530 and 1555. A more precise dating here is rather difficult 
in the cases where no documentary evidence gives hint, and 
after all it is of no great importance. Titian is now standing 
at the height of his career, in full possession of all the means 
of artistic expression which his style demanded and which 
he applies with free and almost superhuman ease. In the 
case of portraits the personalities represented are sometimes 
an aid in determining the dates of undated pictures. Thus, 
for instance, The Artist’s Son Pomponio (Fig. 6), who by his 
extravagant squandering and other bad habits was to bring 
sorrow and disappointment to his father, is here represented 
at the age of sixteen or eighteen years, which fact, since 
Pomponio was born in 1520, makes it possible to date the 
picture in the late thirties. 


The Doge Andrea Gritti (Fig. 5), a patron of Titian, must 
have been painted around 1535, as we have record of another 
painting of the same man finished shortly after his death 
in 1538 which makes him appear somewhat older. 


Of particular interest is the sketchy Portrait of Philip II 
of Spain (Fig. 15). The painting, together with another 
similar one now in Swedish possession, was certainly done 
from life during Titian’s sojourn in Augsburg in 1550-51, 
and gives a splendid characterization of the taciturn and 
morose Infant. With the aid of these sketches Titian painted 
about the same time that somewhat flattering and elegant 
portrait of Philip now in the Prado in Madrid, with gold 
enriched armor over a white costume, which we know was 
sent over to Queen Mary of England during the negotiations 


for their marriage and of which the queen became “greatly 
enamoured.” Our sketch remained in the artist’s keeping 
until the end of his life and was then sold, together with 
his house, to the Barberigo family, in whose possession it 
remained until the nineteenth century. 


There are in this exhibition only a few pictures of the 
mythological subjects for which Titian was so famous. 
However, the three works of this kind, the wonderful Dande 
(Fig. 13), almost contemporary with the painting of the same 
subject done in Rome in 1545 or 46 for the Farnese family, 
the Adonis from about the same period, and the Venus and 
Adonis, another version of the painting in the Prado executed 
for Philip of Spain in 1554, give an adequate and splendid 
idea of the convincingly genuine spirit of the antique with 
which Titian impregnated these glowing, passion filled figures. 


The strength of the aged master seemed inexhaustible. 
There is no sign of fading power in the two works of his 
last period which are shown in our exhibition: the portrait 
of the so-called Fulvio Orsini (Fig. 21), done in 1561, and the 
marvellous Man with a Flute (Fig. 19), from our own Museum, 
of about the same date. On the contrary, there is apparent 
a moving inner life, and now that eye and hand no longer 
obey his will, he compensates by means of broad masses 
of color, light and shade, and where with others weakness 
would begin, with him results a new expression. And in the 
Crowning with Thorns in Munich, the work of a ninety- 
five year old man and one of the greatest paintings of all 
time, he masters problems which not until a hundred years 
later, on another soil, an equally great genius, Rembrandt, 
was able to understand and similarly solve. 


We have mentioned above that Titian, more than any other 
painter of Venice, embodies the artistic spirit of this city. 
We can go farther and say that he more than any other 
artist, with the exception perhaps of Raphael alone, has 
succeeded in expressing the true spirit of the Renaissance; 
that he more than any one else since the golden days of the 


Greek antique, has opened men’s eyes to the beauty of the 
physical world. There is something in Titian’s paintings 
akin to the ecstasy of spring, as though ravished eyes could 
see only perfection in all the objects of creation—in man as 
well as in nature. The nobility of this perfection permits the 
expression of the most exquisite human emotions, as well as 
the lifting of sacred events into the sphere of the sublime. 
One receives the impression that his figures, whether in 
worldy or in devout mood, are animated by a higher life, 
This is true likewise of his portraits several of which rep- 
resent persons whom we know from portraits by other paint- 
ers. Though equally convincing as likenesses, Titian more 
than any of the others, succeeds in unearthing an inner 
aristocracy which expresses itself in features and in bearing. 
And in his landscapes there breathes the very spirit of Pan. 
Trees are alive: dark woods dream, strong oaks writhe in 
passion like human beings; brooks babble; and even the 
clouds, pale and veil-like, rosy silvered, or darkly massed and 
gold encircled, reflect the longing desire and the ardent woo- 
ing of those godlike beings who people these scenes. The 
delight of the world; the pagan beauty of sensuous love; the 
integrity of life; the true freedom of the long-lost golden 
age, these were reborn with Titian. 


WALTER HEIL 


~MAabDONNA AND CHILD 
Canvas: 18 inches by 22 inches. 
- Painted about 1505. 


2. THe AppgAt (Jason, Medea and Creusa) 
Canvas: 3314 inches by 2714 inches. 


The feminine figure on the left was painted by Titian about 
1508-10, while the two other figures were probably painted by 
Giorgione and Sebastiano del Piombo. 


Described by W. R. Valentiner in the Bulletin of the 
Detroit Institute of Arts, March, 1926; by Paul peer in 
Art in America, Vol. 15, p. 35. 


Bernard Berenson, who in a recent letter accepted the 
figure to the left as being by the hand of Titian, has expressed 
the opinion that the two other figures may also be works of 
Titian from an earlier phase of his career. 


From the collection of the Grand Duke of Oldenburg, 
. Germany. 


The Detroit Institute of Arts 


3. Portrait o-r A MAN 
Canvas: 31 inches by 27 inches. 
Painted.about 1515. 


Catalogued in the Fifth Loan Exhibition of Old and Modern 
Masters, The Detroit Institute of Arts, October, 1927. 


Mentioned in Ridolfi, Le Meraviglie d Arte, Venice, 1648, 
Volta, 1382. 


From the collection of Lord Brownlow, Ashbridge Park, 
Hetfordshire. 


Lent by Mr. and Mrs. Edsel B. Ford 


4. PorTRAIT OF ANDREA DE” FRAN 
Canvas: 32 inches by 25 inches. 
Painted about 1530. | 

Described and illustrated by Bernard 

_ ftir M. J. Friedlander zum 60 Geburtstag, 
| From the collection of M. Viardot, 


oneal about 153035. : 


Mentioned by Oscar Fischel, Ti F 
"Stuttgart, 1906,.p.« 23. yo 


_ From the collection of Me Job 


6. Portrait OF THE Artist's Son PomMpon 
Canvas: 41 inches by 33% inches. — ce 
Painted about 1535-40. ae 


: Described by Oscar Fischel, Titian Ki 
p. 103; Gronau, “Unknown Portraits © 
fiir Bildende Kunst, May, 1922. 


7. PorTRAIT OF A MAN witH A Hawk 


(Called Giorgio Cornaro) 
Canvas: 42 inches by 37 inches. 
Painted about 1530-40. — 

Signed Titianus F. 
Engraved by William Skelton, 1811. 


Described by Waagen in Treasures of Art in Great Britain, 
London, 1854, Vol. II, p. 278; by Crowe and Cavalcaselle 
in Life and Times of Titian, London, 1881, Vol. II, p. 19; by 
Oscar Fischel, Titian, (Klassiker der Kunst) Stuttgart, 1906, 
p. 72; in Kaiser Friedrich Museum Verein, IIlustrierter 
Katalog der Ausstellung von Bildnissen, Berlin, 1909, p. 23; 
by Charles Ricketts, Titian, London, 1910, p. 96. 


From the collections: Earl of Carlisle, Castle Howard, 
Yorkshire, England; Dr. Eduard Simon, Berlin. 


* Lent by Mr. A. W. Erickson, New York 


8. TosBiAs AND THE ANGEL yc 
Canvas: 3514 inches by 32% inches 
Painted about 1540 ae 


Described in the catalogue of the 
Royal Academy, London, 1911 
Authenticated by Georg Gror 
Detlev Baron von Hadeln oa 


Lent by Mr. Richard 


_ 9. Portrait oF A MEMBER OF THE BARBARO FAMILY 
Canvas: 20 inches by 15 inches 
Painted about 1540 


Described in the catalogue of Les anciennes Ecoles de Pein- 
turs dans les Palais et Collections privées Russes. L’exposition 
organisée a St. Petersbourg en 1909, Brussels, 1910, p. 36 


Authenticated by Detlev Baron von Hadeln 


From the collections: Carlo Rossi, Wenice; the Grand 
Duchess Marie of Russia; Baron K. E. von Liphart, Florence; 
Baron Ernest von Liphart, Director of the Museum of the 
Hermitage, Petrograd 


Lent anonymously 


10. Portrait o—r A MAN 
Canvas: 391% inches by 3314 inches. 
Painted about 1540-45. 
Signed in the lower right corner “Titia.”” 


Described by Oscar Fischel in Art in America, August, 
1926, p. 192. 

Authenticated by Georg Gronau, Oscar Fischel, Bernard 
Berenson and August L. Mayer. 

From the collection of Mr. Theodore Fischer, Lucerne, 
Switzerland. 


Lent by Mr. F. Kleinberger, New York 


11. ADonis 
Canvas: 3834 x 274. 
"Painted about 1540-50. 


Described by F. Mason Perkins it in f 
October, 1921. 


Lent by Mr. and ive George Bl ‘mer 


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12. MADONNA AND CHILD witH St. MAGDALEN 
Canvas: 39% inches by 31% inches. 
Painted about 1545-50. 


Authenticated by Georg Gronau, August L. Mayer, Wil- 
helm Bode and Oscar Fischel. 


From the collections: Prince Borghese, Rome; Lord Rad- 
stock, London, England. 


Lent by Mr. Norbert Fischmann, Munich, Germany 


Arrival of painting delayed by one week 


_ Canvas: 474% inches by 67 inches. _ 
Painted about 154550. 


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eae 1927, p. 222, 322. 


Canvas: 42 oe by 34 YA, inches. 
Painted about 1550 © 


Authenticated by Cone Gronau 


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Canvas: 5214 inches by 37% inch 
Painted about 1550-51. _ Bey: 
Described by Oscar Fischel in T 


Stuttgart, 1927, p. 159, 316; illu: 
Titian, London, 1910, pl. CXVII 


From the collections: Giu 
Franz von Lenbach, Munich. 


Lent by the Cincinnati Museum # 


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16. Porrrarr or A Lavy (The Artist s 
Canvas: 37% inches by 30 inches. = 
Painted about 1550-55. 


ary, 1928. | 
From the Seen of Lord Lecot 


Lent by Mr. Colin Agnew, 


17. Portrait or A MAN Bae 
Canvas: 471% inches by 3634 inches. _ 
Painted about 1550-55 — yy 


Mentioned by Bernard Berenson, in 
the Renaissance, 1897, p. 139. 1 oa eaes 


Authenticated by Bernard Berenson 2 
From the collection of Prince Giova 


Lent by Mr. Frank P. Wood, T te 


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18. Mater Dotorosa , 
Panel: 29 inches by 23 inches. 
Painted about 1550-55. 3 
Signed at the right: “Titianus.” 


Described by Waagen in Treasures of 
by Detlev Baron von Hadeln in ee is 
October, 1924. 7 


Authenticated by Adolfo Venti 


From the collections of Prince Bor 
Fletcher, London; Alfred Fletcher, 
Fletcher, London. 


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19. Venus AND ADONIS 
Canvas: 4134 inches by 52 inches. 
Painted about 1555. 


Described by Waagen in Art Treasures of Great Britain, 
London, 1854, Vol. III., p. 18-19; by Crowe and Cavalcaselle 
in Titian, London, 1887, Vol. II., p. 151-152; by Champlin and 
Perkins, Cyclopedia of Painters and Painting, London, 1888, 
Vol TV... pe 338. 


Authenticated by Bernard Berenson. _ 


From the collections: Mariscotti, Rome; Camuccini, Rome; 
Buchanan, London; Earl of Darnley, Cobham Hall, Kent. 


Lent by Mr. Jules Bache, New York 


20. Portrait oF A MAN WitH A FLUTE 
Canvas: 381% inches by 30 inches. 
Painted about 1560. 
Signed in the lower left corner “Titianus By 


Described and illustrated by Detlev Baron von Hadeln in 
The Burlington Magazine, November, 1926, p. 234; by Frank 
Jewett Mather in The Arts, December, 1926, p. 312.; by 
Walter Heil, Bulletin of the Detroit Institute of Arts, Vol. IX, 
No. 2. Catalogued in the Fifth Loan Exhibition of Old and 
Modern Masters, The Detroit Institute of Arts, October, 
1927. 


From the collection of Baron von Stumm, Berlin. 


The Detroit Institute of Arts 


bey 


21. PorTRAIT OF A Lavy. } : 
‘Canvas: 37 inches by 27! inches. 
Painted about 1560. =e 
Described by Oscar Fischel in Ti . 


Stuttgart, 1927, p. 212 and 321; = 
schrift fur Bildende Kunst. Pest 


From the collections of Count S 1 
von Nemes, Munich. ae 


Lent ay Mr. Max b 


22. PoRTRAIT OF A Man (Fulvio Ors 
Canvas: 2734 inches by 34 “A inches 
Painted in 1561. 

soe and dated lower left: ee a 


From the voliseeane of Sir Hes 
Mead, Hayes, England; Charles Br ! 
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